Light of the World (Christian Movie Review)
Brought to life with beautiful 2D animation, Light of the World is a charming, unapologetically evangelistic depiction of the gospel story, though it navigates some of the same challenges as other Bible adaptations.
About the Film
All recent animated Bible adaptations exist in the shadow of the beloved classic The Prince of Egypt (1998). That film came as a refreshing novelty amid a sea of less edifying animated Hollywood entertainment. But times have changed, and faith-based entertainment is thriving. Light of the World is already the second major animated Bible adaptation released this year, following Angel Studios’ The King of Kings. Brought to life with beautiful 2D animation, Light of the World is a charming, unapologetically evangelistic depiction of the gospel story, though it navigates some of the same challenges as other Bible adaptations.
For many Christians, the primary concern about a Bible adaptation is how it adapts the Bible. But visual adaptations like Light of the World are also fundamentally works of art, and that artistry is on full display in this film. Under the guidance of accomplished animator Tom Bancroft (a Disney veteran behind hits like The Lion King, Beauty and the Beast, Aladdin, and other classics), the film boasts a delightful 2D animation style that sets it apart from other Bible adaptations (and other animated films in general). The intimacy of the visuals is perfectly suited to the subject matter.
Light of the World tells the gospel primarily through the eyes of the disciple John, who is imagined here as a child. Many Bible scholars theorize that John was the youngest disciple, although he was likely a young man and not a child (John 19:26-27). Setting aside the question of biblical accuracy, this creative decision gives the film’s target audience the perspective of a relatable peer. Light of the World is at its best when the story is filtered through John’s childlike eyes.
The film doesn’t always remain committed to that approach. Like many adaptations, it sometimes feels as though it’s merely checking off the gospel story highlights rather than exploring John’s personal experience of those events. The filmmakers place John front and center for most of the key moments. Even so, after an inventive first act, the movie settles into a mostly straightforward visualization of the gospel. That’s not necessarily a problem, but it does lose some of the narrative framework and perspective that made the earlier scenes feel unique and fresh.
As far as its approach to adaptation, Light of the World is akin to a Bible translation like The Message, which focuses on making the main ideas accessible to today’s audiences (This may be the first Bible adaptation to include a JAWS reference!). The film remains mostly faithful to the biblical text. There are a few visual embellishments (such as during Christ’s baptism and when Peter walks on water). The film also invents some material to fill in the narrative gaps and make John more integral to the story, such as a subplot about unpaid taxes and John’s father’s impending imprisonment.
There are a few omissions or instances when events are condensed to streamline the story. Most of these changes are understandable, such as having Jesus carry the cross himself instead of introducing the additional character of Simon. Arguably, the most noticeable adjustment is the diminished focus on the empty tomb. It’s a surprising cut, given the empty tomb’s obvious importance to the story. That decision diminishes the dramatic weight of Christ’s resurrection.
Quibbles with some of the creative choices aside, there’s no denying the film’s evangelistic heart. It begins with a title card displaying John 3:16 and ends with an altar call, as the animated John and his father encourage people to accept Jesus. A QR code appears on screen that links to supplementary videos and resources. Personally, I’m not crazy about end credit calls to action, which make a film feel more like a visualized gospel tract than a standalone work of art. Still, I commend the film’s missional heart and can see it being a valuable resource for churches.
Bible adaptations are often tricky to evaluate, since they serve a different purpose than other films. Ultimately, each viewer will need to determine whether a good adaptation is one that accurately conveys the Bible or one that resonates with the broader heart of the gospel (even at the expense of some of the narrative details). I enjoyed Light of the World for what it is. Viewing it with my 10-year-old son and seeing the wonder in his eyes as he watched the Bible come to life reminded me of what matters most, and I pray other young viewers will have their eyes opened to the goodness, truth, and beauty of the gospel through this film.
For Consideration
On the Surface—(Profanity, Sexual content, violence, etc.).
Language: None.
Violence: Red streaks of blood are visible during the telling of the Good Samaritan parable and the crucifixion scene. During the crucifixion, the nails are not shown piercing the hands and feet, but Christ’s agonized screams are audible.
Sexuality: None.
Other: The film uses a ripple effect to visualize Jesus’ power when he performs miracles. It’s an effective visual cue for young viewers, but it may strike some Christians as presenting Jesus more in a Gnostic sense as a sort of magician.
Engage The Film
God’s Truth v. Our Expectations
A repeated refrain throughout the film is that “God rarely shows up in the way we think he will.” Much of the movie focuses on the disciples’ misguided expectations. They enthusiastically imagine Jesus as a messiah who will establish an earthly kingdom, rule with might and power, unleash vengeance on their enemies, and free them from Roman oppression. These expectations are visualized in the disciples’ hopes for Palm Sunday, with Jesus riding in on a white stallion and brandishing a sword—a stark contrast to the humble messiah riding a donkey.
To a certain degree, I question whether younger viewers will grasp the political dynamics of the first century well enough to be able to make modern day applications. Thankfully, the film offers guidance in this regard, such as a conversation between Jesus and John that uses striking imagery to give a gospel presentation. In a closing monologue, John effectively summarizes the theme: “He didn’t come to conquer; he came to serve. He didn’t come to defeat our enemies; he came to show us how to love them. He didn’t come to condemn us in our darkness, but to fill us with his light, and lead us back to God.” The film offers plenty of opportunities for parents to discuss with their children the nature of Jesus and the counter-cultural life he has called them to live.
While John’s age in the film may not be biblically accurate, the dynamic of a child following as a disciple of Jesus is a powerful way to explore this theme. An ending scene in which John leads his father to accept Christ is a beautiful moment that might empower young viewers to follow Jesus and set an example for the older generations. As a father of two young boys close to the age of John in the film, I appreciated that.
